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This is me, at age 1, playing in the cemetery. Click the picture for an enlarged view. I am sooo cute!!!|
If you are interested in "White Bronze" or zinc monuments, I have published a book of photos of them in the Chicago area. You can check it out at www.zincmarkers.com
While researching our family tree, we browsed the old photo albums we found tons of pictures taken at the family cemeteries. My first "cemetery" photo was taken when I was about 1 month old at Glen Oak Cemetery in Hillside, IL. My grandfather had just passed away and we visited every week. I remember my mom telling the story that I was playing in my sandbox making little piles of sand. She asked what I was doing and I replied "Making graves!"
My oldest daughter kids around that I talk to dead people, thus the name "SixthSense".
In all honesty, I wanted to be a mortician but I married, divorced and raised two beautiful daughters instead.
Cemeteries have always fascinated me, and this is a great way to display some of the beautiful headstones as well as to remember those who left us, often much too soon. Inspired by "Tombstoner", I have begun adding burials of people that I have not know personally, but have found their monument unusual, their obituary interesting, and most important... I want them to be honored here. If I have added someone that you wanted to add, please let me know. I meant no offense and I will gladly remove my entry so that you can add it yourself.
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Ash Montagu, bob ewaniuk, CJ McCallister, Debala, JWT, Kathryn Cabral, Linda T., LOTS OF LOVE PE..., Monumental Man, Pamela Pomeroy, Susan Lawson, Tombstoner & Fa..., Willy & Alison ...
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|Susan ||Chicago Theatrical Protective Union, Local No. 2|
Local 2 of the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States and Canada, or IATSE (IA for short) is the union that represents stagehands, technicians, and theatrical craft professionals that serve Chicago’s entertainment industry.
Originally founded as Local 2 of the Theatrical Protective Union of Chicago, the Local was chartered on March 3rd 1887. Like many other workers of that era, the newly-organized stagehands sought economic stability, an eight-hour day, and protection from job-related hazards. After the panic of 1873, the United States went through a painful economic reset in which it was transformed from an agricultural-based economy into one of mass industrialization. Theatre was no exception, and like many other industries of that time, backstage became increasingly dangerous with mechanization and new technologies such as electricity.
Since its founding 125 years ago, Local 2 has successfully adapted to a number of significant changes in the entertainment industry. The first example being the dawn of the movie industry in the 1910’s which saw the need for skilled projectionists and movie production personnel.
The electronic age following WW II brought us television and more than 100 Local 2 stagehands worked in the new electronic medium; many of them returning combat veterans. Prior to the invention of videotape in 1957, all broadcast television was live which required large crews. The post-war period also saw a resurgence of the Broadway musical with new large-scale productions such as South Pacific and West Side Story that incorporated complex scenery and lighting.
Local 2 stagehands raised the curtain at Lyric Opera’s very first performance in 1954, and since then have been instrumental in transforming Lyric into one of the world’s greatest opera companies. The rock-n-roll revolution was the beginning of the “arena event” era in which top-named acts played to large audiences in venues such as the Amphitheatre, the Coliseum Theatre, and the old Chicago Stadium. Memorable events described by Local 2 members include Elvis Presley’s 1957 concert at the Amphitheatre in which he wore his gold lame suit for the first time, and Jim Morrison’s lack of a suit (or other clothing for that matter) during a 1968 Doors’ performance at the Coliseum. By the 1970s, arena rock had expanded to immense productions such as Pink Floyd at Soldier Field and a number of day-long concerts at the old Comiskey Park. This genre brought significant new challenges associated with untested staging techniques such as massive temporary stage structures, and mammoth sound and lighting systems. Local 2 members proved crucial in solving these problems.
Theatre’s digital age arrived in Chicago in January 1978 when the musical A Chorus Line opened at the Shubert Theatre. This was the first large-scale production to use a microprocessor-controlled lighting board. By the early 1990’s digital technology extended into controlling sophisticated automation systems in productions such as Miss Saigon and The Phantom of the Opera, all operated by Local 2 stagehands. Since then, technology in theatrical and event productions has grown exponentially.
Today, Local 2’s primary mission remains to provide economic security and a safe work environment for its members and their families. Additionally, Local 2 has evolved to become the foremost center for providing the highest-skilled, best-trained, and most productive stagehands and craft workers in the nation. This is due to Local 2’s innovative training programs and emphasis on continuing education and certification.
If you have ever been at a concert and wondered, “…who are the people running the lighting and sound consoles, climbing the scaffolding, running the spotlights, or moving the musical instruments?” That’s us, Local 2 stagehands.
(Does this help?)
Added by Susan on Jul 25, 2017 4:25 PM
|Susan Lawson||Rachel Bias Bledsoe|
Hi. I see you left a flower on my great great grandmother's find a grave site. Thank you. I am just wondering if we are related in some way. I found your introduction of yourself interesting and can relate to some of it personally and so could some of my daughters. That is why I am wondering if we may be related. Thank you if you can give me isome input.
Susan Lawson, Huntington, WV
Thank you for the transfer!
Found John Landers(unfortunately, most likely not my 3G-Grandfather) in your virtual cemetery. Your narrative made me curious, which led to the website for the current version of this union:
They may not know of this section in the cemetery and they may have more info for you.
|Barbara Samans||Theatrical Protective union Chicago|
Lynn Email at Tourist51@aol.com and I can send you some info regarding this if u r still interested
Re MIlton C Bowers find a grave
|Grace||RE: Fred Dreyer Memorial|
I have a hunch that Fred was a son of Julius William & Augusta Roggentin Dreyer; the husband of Lucille McManus & the father of Phyllis Dreyer Shipp & Wayne E Dreyer. Can you confirm this info? If you can, I will add it to the memorial. Lucille's mother was Olive Steenbergen, one of my cousins.
Added by Grace on May 04, 2014 6:42 PM
|Mia Houghton||Roy Earl Grosskopf|
|Christine Rea||Julius Schultz and Schultz family|
I am working on the Schultz family and am visiting for a couple more days here in Chicago. Thank you for the photo and info on Julius. I will ask one of the kids about the what is printed on the tombstone and get back to you.
|Phil Roos||William A Foust|
William Alonzo Foust's tombstone gives a death date in 1935, yet he is still listed in the 1940 Census. The 1940 census still shows him with his wife Norma and still working as a movie censor. Any thoughts?
|Nancy Eliason Walker||Merrill G. Skinner|
Thanks for linking Merrill to his family. Nancy Walker
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